DOCUMENT RESUME
ED 062 362 TE 499 767
AUTHOR Owen, Joan; And OthersTITLE Music: Chorus, Junior.INSTITUTION Dade County Public Schools, Miami, Fla.PUB DATE 71NOTE 25p.; An Authorized Course of Instruction for the
Quinmester Program
EDRS PRICE MF-$0.65 HC-$3.29DESCRIPTORS Auditory Discrirnination; *Behavioral Objectives;
*Choruses; *Course Objectives; *Curriculum Guides;Music; Musical Composition; *Music Education; MusicReading; Skill Development
IDENTIFIERS *Quinmester Program
ABSTRACTA music course of instruction in junior chorus, to
develop students' performance skills individually and in ensemble, isdescribed. A prerequisite for pupils is the ability to read music.Outlined are: the course description; enrollment guidelines; studyobjectives; course content; procedures; resources for pupils andteachers; and the assessment. Examples of descants in various keysand ranges are illustrated. Course objectives are: the student willselect the title of any familiar melody from a list provided;identify aurally the performing medium from various musicalinstruments; determine aurally whether an example is major, minor, orchromatic mode; and aurally determine the cadence content of anexample. The pupil will also learn the musical vocabularies: (1)letter notation; (2) numbers--harmonic intervals; and (3)solfeggiodeveloping musical sound, and demonstrate vocal and choraltechniques. With the emphasis on harmony, and using laboratoryapproach, pupils will develop skills in vocal production, listen,read, and compose music with emphasis on ways harmony is used.(Author/LS)
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AUTHORIZED COURSE OF INSTRUCTION FOR THE
Music: CHORUS, JUNIOR 5612.50, "PERMIiSION TO REPRODUCE THIS
'COPYRIGHTED MATERIAL HAS BEEN GRANTED
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DIVISION OF INSTRUCTION1911
CHo pi , JUNIOR
MUKT 41 IMBER 5612.50
MUSIC
WRrITEN BY :
Joan ()wen Betty rlyatt
Ann Duncan rTher n BArry
Mari lyn Trott Mable (ilover
Joan E n horn ;racki.e Alexanderr*"
for the
D3VT3t'N OP INSTRUCTIONDade County Puh 1 c r!chGolsa Plori dacr 1971
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DADE COUNTY SCHOOL BOARD
Mr. William Lehman, ChairmanMr. G. Holmes Braddock, Vice-Chairman
Mrs. Etha: BeckhamMrs. Crutcher Harrison
Mrs. Anna Brenner MeyersDr. Ben Sheppard
Mr. William H. Turner
Dr. E. L. Whigham, Superintendent of SchoolsDade County Public Schools
Miami, Flarida 33132
Published by the Dade County School Board
3
I. COURSE TrITLE
CMrus, Junior
TI. CUURSE NUMBER
5612.50
III. COURSE DESCRIPTION
A performing organization in which pupils develop increasinr
performance skills individually and in ensemble, with
emphasis on stylistic characteristics of the music studied.
The emphasis will be on harmony and, usinv a laboratorY
approach, pupils will develop skills in vocal nroduction,
listen, read and compose music with emphasis on wRys harmony
is used.
IV.COURSE ENROU GUIDELINES
Pupils will have experienced a basic ability to read music
and may have developed skills needed for specific courses
prior to enterinra middle, junior or senior high school.
If so, they shbuld be nlaced in courses appropriate to
their development. Consideration needs to be ;riven to pupils'
(1) knowledge. (2) performance skills, and (3) motivation
for study in determining appropriate placement for instruction.
V. ODURSE OP'STUDY OBJECTIVES
A. Musicianshin
The nuolls will select the title of any familiar melody
heard from a list provided.
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The pupil will Identify the nerforminp medium by ear frail
the following choices: violin, clarinet piano, trumpet,
flute, cello, trombone, recorder, oboe, saxophone, French
Horn, Fhp:lish horn, and bassoon.
The pupil will determine by ear whether an example is in
mati or minor, or chromati c mode , and aurally identi fy ma,i or
minor, diminished and atkppunted chords, intervals and
scales, and the chord propression T IV V.
The moil will determine by ear whether an example
contains a comnlete cadence, an incomplete cadence, or no
cadence. Given a staff containinFr a clef sipn, meter sipna-
ture, bar lines and the initial note, the pupil will complete
the notation for nitch and duration from melodic dictation.
Given a staff notated example, the pupil will indicate any
pitch discrepancies in an example heard.
Given a staff notated example, the pupil will indicate any
rhythmic discrepancies in an example hearth
Given several examples of staff notation, the pupil will
select the one matching an example heard.
The pupil will learn the three musical vocabularies:
1. let ternotation
2. numbers harmonic Intervals
3. solfeggio- developirm musical sound.
The student will develop effective diction through the
study of vowel and consonarit fornation of the words
fnund in suitable sonp literature.
2
The student will analyze rhythms tn the most freauently
used meters: 4/4, 2/4, 3/4, 6/8, 2/2.
The student will identify intervals aurally and visually.
The student will identify dynamic markings, symbols, and terms.
After hearing a melody the student will indicate at what point
a modulation has occurred.
liven a similar welody in staff-notation without a key sig-
nature and aided bv hearing a nerforrance of the melody
exactle as notated, the student will select the needed key
sirnature rnorn a grom provided.
After hearing a lelod nerformed, the student will select
from a group nrovtded the p:oper sequence of lettirs to
describe the form of the melody.
Given a staff-notated example, the student will select from
a group provided the proper sequence of letters to describe
the form of the melody.
Given a famdliar mPlody in staff-notation, the student will
select the title from a list provided.
B. Performance
Tbe pupil will demonstrate the followinr vocal and choral
techniques:
1. Posture
a. sitting
b. standing
2. Breath Support-Control
a. sustalninp single tones
b. crescendo and diminuendo on stnrle sustained tones
e. lerato scale passams 3
6
3. Diction
a. vowels
1. pure
2. dipthonr
b.Consonants
1. voiceless
2. voiced
4. Blend
a. unison
b. part singiny
). Sightsinrinr
Me pupil will perform simple unison and nart snnys in the
diatonic mode with recognition of all symbols of staff
nofation.
6. memorization
a. tonal (pitch)
b. textual
c. performances with and without music.
VI. COURSE CONTENT
1. Vocal Readiness
a. warm-up exercises
1. breathing exercises
2. vocal care
2. Tone Development
a. resonances
h. balance throughnnt individual vocal range
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c. support and control
3. Diction
a. vowels
1. puTe
2. dinthongs
3. trinthongs
b. Consonants
1. voiced
2. voiceless
4. intPrnretation
a. dynamdcs
b. phrasing
c. accents written and unwritten
d. style
e. balance
f. historical consideration
Refer to Madeline Marshall's The Sinper's Manual of English
Diction.
5. Tone Quality
a. expressively beautiful tone
h. accuracy of nitch
c. correct breathing habits
d. clear correct diction
e. consciousness of blend
f. artisitic interpretation
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8
6. The pupils will evidence understanding of the period, style,
rhythmic and tonal characteristics of each composition
studied.
7. Pupils will carry a part independently in a quartet.
VII. COURSE PROCEDURES, SUGGESTED LEARNING STRATEGIES AND ACTIVTTIES
These are general suggestions to the teacher who will choose
what seems best suited for the specific group and purpose.
Every piece of music should be selected for specific musical
purposes.
The suggestions are practices universally accepted, and many
additional specifics are included in Section IX, Resources for
Teachers, and in Marilyn Trott's outline for teachers.
A. Voice testing and classification
B. Exercises to develop understandings and skills to be
applied to the music literature.
C. Aural recognition of song forms.
D. Sight-reading of simple unisons, canons and part-songs.
E. Development of basic fundamental vocal techniques.
VIII. RESOURCES FOR PUPILS
Doolin, H.A. - Songs for All A5es will be available in the near
future.
Octavo music of suitable range and degree of difficulty.
Basic series for Junior high school.
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(This is by no means a comprehensive list)
Fran Singing Teenagers, Pitts et allGinn and Company
Stars of the Starner Night - n.lil
The Star Spangled Banner - p. 130 (check tenor part)
America - p. 133
God of Our Fathers - n. 139
Olive Trees Are Standing - p. 144
Pinlandia - p. 146
The Lord Is My Shepherd (SAB) p. 157
Wondrous Love - p. 164
Go Down Moses (minor mode) - p. 175
Fnmn Singing Youth Dykema et la,C.C. Birchard & Co.
Nigtt Shadows Falling - p. 103 (rewrite tenor part in bass clef)
'Adoremus Te p. 146
Do, What a Branch of Beauty- n. 149
Prom Songs of All Ages-Doolin (to be available in ti-e near future)
All of this material was chosen with the goals stated in Course
Content in mind.
Octavo:
Let There be Peace on Earth (SSA) B214 Shawnee
Edelweiss (SA) Rodgers #266 Wiilianmon
So Long, Farewell (SSA) Rodgers Williamson
Born to Be Free (SATB) Williams 5147 K,jos
Bim Bam (SAM) Altman MC-227 Mercury
For the Beauty of the Earth (3NI13) Kocher-Davis 5n-1850 Renick
Tamale Joe (SAM) RI chardson W3530 1.9.tmark
Che rut c Hymn (SAM) Bortniatisky available ''ropi DCS
Do How A Pose (SAM) Praetori us available from res
Lone Wild Bird (SAM) arr. Johnson CS-522 Aurshurcr,
Pa Una Canzone (SATB) Vecchi # 556 Lawson-flould
r,leigh (SAM) Kountz #71459 G. Schimer
Now Let Every Tomue (SATB) Bach #7025 K,ios
Davi.d's Lamentation (SAW) Billinps-Sierme-Ister CM 6572 C. vischer
Consider Yourself (SAW) Bart Hollis usi c
rre Your Tired Your Poor (SATB) Lazarus-Berlin A-119 Shawnee
.) rd's Prayer (SAB) Malotte 92614 Schirmer
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Tx. inmr,E riErflIJRCES TrR TEACHERS
A . Vocal Classificat ions
I. Range
Range Is an important factor in selecting music for
nerformnce by any combination of nerformersi whether they
will si.ng or rlav instruments. Although riinges are not as
clearly derthed for Junior hirt school voices as they are
for ins:rurnents, there are 2-eneral ranres on which you can
usually depend.
a. (Iirl's voices:
Me ranges of girl's voirres :tsuall:; f'ound 4...n junior hiph
scr'nol clarssr.,!.; seem to he:
girls in :iunior high school -"..,ulil not be gtven perranent
assignment to high (soprano) or,lc:w (alto) and should never
be assigned to tenor parts. Permanent assignment tO a
snecific nart on the basis .)" a voice test at the begin-
ning of' the term can limit voice development, can encourage
undesirable attitudes regarding niture development of' Vocal.
skills, and can, in some cases, cause irrenarahle dannge-
particularly in the cases where girls are assimed to tenor
narts.
Assimment to specific vocal narts shmild he alternated
so that all of the girls will have expprimc!? with htrh
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, 12
and with low parts. This will nrovide opportunities for
all of them to maintain and increase the-ir ranges, to
develop independence in carrying: both a melodic and
harmonic nart, and to increase their understandings of a
musical score. It is not recmmended that assicTrnent to a
specific part be changed on a soecific selection; rather,
that assignment to the high part be made on one selection
and to the low part on another. This procedure of' alternating
assiprirtrn1 s should be followed so that responsibi lity
for singinr, each nart will be rAven to all girls equa_i_Ly.
b. Boys,' voices:
The ranges or boys' voices are r.omewhat less definite,
however, they seem to fall into two general classi fications:
(1) earliest stages of' change
(2) more advanced stages of' change
I 0
13
The voice change in boys sPems tc b,! a rr,radual lowerinir
in pitch from the treble range to the r.anres for men a
lower octave; however, there is no exact rule for i.!very boy -
some voices may change very rapidly, some very slowly.
Observation needs to he continuous to assure that boys are
assigned to narts which they can sing.
This neti-K:d of clar-si ficat ton was suRgested by Dr. Trwin
Coonrr in ".lunetime for Teentime:
1. 'The teacher asks the class to sinp. "Way Down upon the
wanee River", r,ivinr the key of F3 flat for this purpose.
2. !As the class sinrs,..he teacher moves areund among the
boys, tapping on the shoulder those who are obviously sirming,
baritone an octave lower than any of' the others.
"--3. Boys who have been"tapred" are now asked to remain silent
while the remainder sings the song arain, this tine in the
key of (I flat.
LI. Once again, the teacher Troves around the class, this time
1:app1hr the shoulders of bowl who obviously sing in the
high sooranorange.
Por a final check, it Is recornended th-t all untanned
boys sing the song once more in the key of 13 flat.
6. Pep:I-nun the class accorclini to sor,rano, hanging volce,
and baritone.
The entire prrcess riven above should occupy not more than
five mlnutes, ,-;therwi se there will be conslfierable mrest
among baritones who were first "eliminated".
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14
Trir,14Parion -)f range an..; i-:ey placement
imlIcat1.-m of voice ranres and key p1acem(-r1 is clear
then arplied to specific songs. The only cormn ranre which
fx::!..3 in the dtfferent voices is from R flat to C, a ralor ninth.
is 1 rule on which you can generally denehi.
rtable ranpp for unison is;
10 "Er
I Unison songs
Junior high school boys and girls can successfully sing many
unison song (octave unisonn) when the sonrs are nlaced in
;Tnropriate keys. Very orten, the songs will need to he transposed.
America the BeautifUl is a prod example. Tt is generally
written in either the key of C or in the key of P flat. Roys
thP more advanced staRe of change and rirls have no problem.
ow:vor, the boys whose voices are in tho ntares of
charve ( a majority of tne boys in Rrades seven to nine) will
likely be able to successfUlly sinr the followinr
ienrd:, in the key of C Wor:
1 heaU .for sna ner waves or rmin
elAr --- ----train mi --- above the fruited nlain
America ! America nod sh0 His r.race on
And ,:rown thy rood wAth brotherhood
:"rom sea to shininr sen!
15
Simply transposinfr the sow into the key rIr P lat as
indicated below will make is possible to have a performance
in which all moils can participate with satisfaction.
IP
t.
7aIlifa
MinilhailliiiriUAW"' 'r
murbaurommers. 1
mmria awnam
1MIloi.
1
1
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2. Descants
rlany times, satisfactory musical results can he achieved
by assigning a descant to tenors or baritones rather than
having it be performed by sopranos. The key and the ranve
must always he kept in mind.
Example: America the F3eaut1f1.11 descant by Pete/. Dykema.
v nomMr- 3 NM=fAillidlla VIMO FAL
_NrsILAIMMIMMIIIIII =I
or _rnommi muma [TAWS= MS IMONMIPR!MIMI._ =II C-211111111111111r1NotAiEur-%Anwm crimul
II INI
Wh,n this d:want is used with an SATT3 arrangement, it will be
most effectively assirned to sopranos.
When this descant i.s used with bovs and crirls sinrincr the
melody in cot-ayes, tht, descant can he sum by boys whose
voices are in the !arly stages of charre who will .sing an
octave lower than written. It may he necessary to raise
from B flat tc: to establish a more appropriate tessi tura.,
3. ItunclEi_canons and Partner fonfTs
An or these tynes or select1on:7; r.eed the same carenii .
attention to rarres and key placement if they are to he uned
in performance by junior hirrh school boys and girls.
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4. SonRs in narts
Consideration needs to be given to the r..t:O.P:1 of narts
in all songs. SAB arrangements are reneraly unsatisfactory
for use in junior hiRh school.TWo excentions are: The Lord
Is My Shepherd - n. 157, Singing Teenagers; and The Lord's
Prayer - Vallotte. Boys in the early stages or change can
sing on a mart which is &signed as an alto part. However,
junior high school boys are striving to nowur), to become
men, and such an assignment does not nrovide an identification
which will encourage this self.concent.
An equally Important 2onsideration analyzing music
which will be suitable is the tessitura of each nart. lo
nart should require boys or Rirls to sing at the extreres
of their ranges for extended periods of time.
Also, it is wise to select materials in which each nart has
a unioue melody and/or rhythmic orRanization. Variety and
contrast in parts make it possible for each section to
differentiate its part from others and to perform more
accurately and independently.
5. Vocalises
;rIch of tne vocalises listed are recormended for specific
desirable vocal goals. A few sugpestions of choral
literature in which they occur are included, but the list
is boundless.
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00
a. Girls and unchanged boys
fT:La Isev
activate vowel sound by consonants (p-oo) (v-Zio) (f-386).
Start the roles in head voice, gently working down
over the vocal break.
r 3 sr
orerember to use the three
musical vocabularies (numbers,
letters and solfeggio)
The.teacher sings the descending minor third "pm",
"foo", "poo" 4 the class repeats; teacher "foo",
"noo", "voo"; class repeats. COntinue calling on
sections and/or individuals.
c. Divide class
then reverse
1. sol mi sol mi
right:A ME MI I I MO 1 mos mos wow. wr,m wow rni.
1.7 '41116;. Ii:4111107.1116.11
1. sol sol pl sol
2. voo voo voo voo, etc..; 2. foo foo foo, etc...
Note: Tb vocalise on one 36 syllable too long causes law
tensions, so as tensions become evident, change to vocallses
which relax the law and tongue.
:6
19
d.
e.
b is an explosive
1 flips the tongue
ah should be very light and placed in the same areaas the oo. Lips and tongue relax.
SI So
V00
poo
foo
voh
Doh
foh
4111011
c.
1.1.3 ocf-fZo
f. Sustain a unison
Half of class moves to minor second, minor third,
major second.
Class goes to major triad.
17
R.
cloGt 4-; a sol ç6 -rAt ere doh717 r qw,. 5
h. Never divorce the drills or singing from rhythm. Use
multi-devices for setting the rhythmic drive: clapping,
alternate clapping & tapping, body movements appropriate
to the score, vocal stress on primary beat, alternate
with stress on secondary beat, etc.
1-6
21
Cont 'd
C. e-t - egyilteni
LA.
Mil IrislaMN MIMI= MI IM91M-AMMIEll
I MIR .4k11/14._,MMIti:VIMPRINIIMMINII IfIsS4 MPS iiii1===l musadr-...up UM IMPUMIINIMillI 10T/11111 IM:2" -IMMAININI11911PT
it A 1-
OrAINIEr. bZWIMMEMM11 MMIIIMMMIMMMIMMMIMI"IMIMIMIMIMMMII1MIIIIMIMMIIM1 COI= 1=11111I/MI:A.1PM NOM---All %UMW' IIII=11.7.1
lor
Al-
-',ArMCita,- Al-
At e- tt I
Al-
-41- tt..
MINIONS NMI/.
-VI
A. Ita
Dona Nobis Pacem and the above use the descending
broken triad, which is highly recommended as a device for
singing: in tune."Swing Low Sweet Chariot " , the falling third"Joy to the World", scale pEtterns.
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22-
CHORAL AND VOCAL TECHNIQUES:
** Daraza, Arpad and Jay, Stephen. Sitt and Sound.
nceanside, New York: Boosey and Hawkes, Inc., 1965.Adaptation of Kodaly (2.95)
navison, Archibald T. Choral Conducting. Carbridge, Mass:
Harvard University Press, 1959
Farhart, Will. Choral Techniques. New York: M. Witmark &
Songs, 1937. Old but still gtxd... sequential rehea.rsalguides.
arnann, Wilhelm. Translated by George D. Wiebe. Choral
Directing. Minneapolis, Minnesota: Augsburg, 1968.
(8.95)
** Finn, William J. The Art of the Choral Conductor. Vols. 1
& 11. (4.00 each) Evanston: Sumny-FMrchard Publishing
Co., 1944. BeautifIll- style (Renaissance) how to correctcertain vocal problems.
** Marshall. Madeleine. The Singer's Manual of' Fnglish Diction
New York: G. Schirmer, Inc., 1953.(4.00)
Neidig, Kenneth L. and Jennings, John W. Choral Director's
Guide. West Nyack, N.Y.: Parker Publishing Co., Inc.
(Articles by various peoples - style, literature, vocaltechnique, promming, etc.)
STYLE AND INTERPRETATION:
** Dart,Thurston. The Inter2retation of Music. New York:
Harper & Row, 1954. ( A must; short, inexpensive,thoroupti - 1.49)
** Tbrian, Frederick. The HIstory of Music in Performance.
New York: W.W. Norton & Canpany, 1942. (2.49)
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23
** Jacobs, Arthur, al. Choral Music. Baltittiore: Penguin
Books, 1963 (.95).
Ulrich, Homer and Fisk A. A History of Music and Musical
Style. New York: Harcourt, Brace and World, Inc., 1963.
(In depth by farms in period, i.e. motet, dez Prez,
Palestrina, Victoria, etc.)
Tovey, Conald Francis. Essays in Musical Analysis.Vol. V.
Vocal Music. London; Oxford University Press, 1968. (6.50)
Wienandt, Elwyn A. Choral Music of the Church.
New York: The Free Press, 1965. (8.50)
** published in paperback
X. ASSESSMENT - Aural, Vocal and Written.
A. Melodic Dictation - (aural and written)
1. falling 3rd
2. scales
3. minor and major triad.
4 matching melodies
B. Visual Recomition Studied Literature
a) conposition devices
1. sequence
2. repetition and contrast
a. exact
b. tonal
3. tonality (syllabic, numeric, and letter name)
b) title
C. Aural Recognition of Literature
D. Visual Recognition of Symbols and Their Meaning
E. Aural recomition of forms
a. canon
b. binary
c. ternary
d. verse and chorus ( call and response)
e. sequences
F. Rnythms
a. Unit of beat
b. °completion of measures
c. Visual recomition of meter signatures
d. Aural selection of meter simature.
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